CD 輸入盤

That Woman Is Poison

Rufus Thomas (ルーファストーマス)

基本情報

ジャンル
:
カタログNo
:
4769
組み枚数
:
1
レーベル
:
オリジナル盤発売年
:
1988
フォーマット
:
CD
クレジット
:

Bob "Rattlesnake" Greenlee(Bass),  Bob "Rattlesnake" Greenlee(Sax (Baritone)),  Bob "Rattlesnake" Greenlee(Sax (Tenor)),  Bryan Bassett(Guitar),  Denny Best(Drums),  Denzil Best(Drums),  Ernie Lancaster(Guitar),  Lawson Buzz Montsinger(Sax (Tenor)),  Louis Villeri(Bass),  Lucky Peterson(Keyboards),  Noble "Thin Man" Watts(Sax (Tenor)),  Rufus Thomas(Vocals),  Sylvester Polk(Trumpet),  Bryan Bassett(Vocals (Background)),  Donna Staples(Vocals (Background)),  Kenny Neal(Harmonica),  King Snake Horns(Horn),  Nadine Brown(Vocals (Background)),  Razzy Bailey(Vocals (Background)),  Robert Thomas(Vocals (Background)),  Vyki Walls(Vocals (Background)),  Andrew McIntire(Engineer),  Bob "Rattlesnake" Greenlee(Producer),  Bryan Bassett(Engineer),  Pete Carr(Engineer),  Jay Shilliday(Mixing),  Peter Amft(Design),  Peter Amft(Photography),  Robert Palmer(Liner Notes),  Heather Greenlee(Model),  Rachel Stoler(Design Assistant),  Bruce Iglauer(Post Production Supervisor),  Rachel Stoler,  Rachel Stoler(Assistant Photographer)

商品説明

A masterful comeback album from a blues and soul veteran who was assumed to be ready for the retirement home. Rufus Thomas went back to the comic blues that had been his forte in the 1950s, and the edge in his voice and defiance in his tone proclaimed that he wasn't finished yet. After years of taking heat from purists for not issuing enough real blues albums, Alligator didn't get nearly enough credit for being the only label to give Rufus Thomas a fair shot in the 1980s. ~ Ron Wynn, All Music Guide

収録曲   

  • 01. That Woman Is Poison! (05:11)
  • 02. I Just Got to Know (03:20)
  • 03. Big Fine Hunk of Woman (05:47)
  • 04. Blues in the Basement (04:14)
  • 05. Somebody's Got to Go (06:01)
  • 06. Breaking My Back (06:02)
  • 07. Walk (02:57)
  • 08. All Night Worker (03:25)

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人物・団体紹介

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Rufus Thomas

Few of rock & roll's founding figures are as likable as Rufus Thomas. From the 1940s onward, he has personified Memphis music; his small but witty cameo role in Jim Jarmusch's Mystery Train, a film which satirizes and enshrines the city's role in popular culture, was entirely appropriate. As a recording artist, he wasn't a major innovator, but he could always be depended upon for some good, silly,

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